Glasgow songwriter Daniel Meade has performed in various venues in Glasgow from a young age. Sharing stages with acts like the Kings Of Leon, The Fratellis, The Zutons, New York Dolls and Glasvegas as well as in small bars and clubs. His band The Ronelles released their only album Motel in 2006, to promote that album they were able to tour in the UK, USA and Japan. Whilst in the States he was exposed to a lot of old country music, and on his return he formed rootsy country/blues and rock ’n’ roll combo The Meatmen with he toured around the UK and Ireland as well as in Morrocco.
He released his debut solo album, the home recorded As Good As Bad Can Be in 2013. This album was well received and attracted radio exposure including a coveted BBC Introducing Session on Another Country With Ricky Ross. Since then he has released 5 albums under his own name, two accompanied by The Flying Mules and, now, his most recent album with long time guitarist Lloyd Reid entitled If You Don’t Mind.
Essentially, when you started out releasing albums you were aligned to Americana more than any other genre. Do you think that was your intention then?
Not at all, I was just doing my own version of ol’time roots and country music, or so I thought. I first heard the term ‘Americana’ when I went to Nashville in 2014, Morgan (Old Crow Medicine Show) produced my Keep Right Away album and that’s what he was calling it. I still find it a pretty vague concept, I’m not sure I’d class it as a genre at all, more of a banner for genres to live under, somewhat reluctantly in some cases!
Subsequently you have released and played a broader range of music. I suspect that relates to the different types of music you grew up with and the fact you are a touring member of Ocean Colour Scene. has that given you a wider artistic palette?
Yeah those things have definitely played a part these last few years, if they hadn’t then I’d be a little concerned about what I was doing. The more you widen your perspective, musically or otherwise, the more options become available to you. I think if you don’t broaden your palette then you aren’t challenging yourself, and if you aren’t challenging yourself then what you’re creating isn’t going to be interesting or fulfilling, for yourself or anyone listening. I’ve never wanted to make the same album twice, or write the same song over and over, I just don’t see the point. I think a lot of artists worry about alienating their fan base so play it safe too often. I have a lot of respect for folk who take chances with their output, I gravitate more towards that sort of performer.
As a fiercely independent artist, who has been signed to indie labels, is releasing the recordings yourself preferable?
Self-releasing can be great because you work at your own pace, have complete control over the process and don’t have to compromise on your vision. But you’re completely on your own, financially and otherwise, and those things can also become negative, a hindrance even. Sometimes working to a deadline, or giving up control and compromise on certain elements can be a healthy thing, so I think it really depends on the project and who you’re working with.
Many of your recordings have seen you as a largely solo artist playing the majority of the instruments yourself, is that your preferred way of working or is that something that has come about due to the economics of making music?
In my early years, I would just write the songs, get a band together and hope everyone knew what they were meant to be doing! I wasn’t interested in how it all fit together, and not a lot of thought went into it. As I get a bit older, different styles & techniques appeal to me and now I just want to learn as much as possible from everything I do. So I play instruments I wouldn’t normally, like bass, lead guitar, percussion, banjo etc and try to figure out how it works, where it fits within a song. It was never my intention to work like that but it has become one of my favourite parts of the recording process, and has ultimately made me a better musician and writer. I guess it saves on session fees but it’s not about that, if there’s something I hear but can’t figure out I’ll happily draft in a pro.
You have however maintained a long and close relationship with Lloyd (Reid) - including you excellent new album If You Don’t Mind - Where did that relationship start and how has it grown?
It started back in 2009. I was playing a set and he was playing guitar for the headliner, Alan Cranney (who’s dynamite by the way!). I was pretty wired but his playing intrigued me, he didn’t play the same way as other local guitarists I’d seen. I wangled his number from the promoter the next day and started phoning him, pretty lubricated if I recall correctly! He eventually answered, apparently we had a chat and that was it, he was playing in my then band The Meatmen within a week! We’ve never really looked back, and we’ve done a lot together over the years, countless bands, gigs, tours and sessions. He’s as solid a friend as he is a musician and I feel lucky to have shared so much with him. We both seem to have grown in the same direction musically over the years so we’re mostly on the same page when it comes to playing, and I think that’s kept us together. I’ve found that to be a rare thing doing what we do so I don’t take it for granted.
Obviously Covid19 has had an effect on musicians worldwide how has it impacted on you personally?
It’s been mental, I don’t know anyone it’s not affected in a big way. I’ve gone from 4 gigs a week to zero in 7 months, and there’s no end in sight. On a positive note it’s made me get busier in the home studio. I’ve managed to write and record an EP and two albums in that time, one of which is the duo album with Lloyd. If I’m being honest I’ve not missed gigging as much as I thought I would, which has surprised me. I’ve literally not stopped in about 15 years so the forced hiatus has been quite welcome in a lot of respects. Will be happy to get back to it once the madness dies down though.
Is Glasgow a good place to be at this time?
Glasgow is a good place to be anytime!
There seems to be a move away from the kind of covers band who were normally the mainstay of the regional country clubs to something more original. Are there other contemporary artist you admire in the UK?
Within that country/roots style then aye there’s a few, our good pals Rob Heron & The Teapad Orchestra from Newcastle, The Most Ugly Child from Nottingham, and there’s a group of young guys from Glasgow called Awkward Family Portraits who are making a good noise these days. I don’t follow the ‘official’ Country or Americana Charts so not really in the loop as to what is hot or not. A lot of that modern stuff sounds the same to me anyway.
Sleeping On The Streets Of Nashville from your new album seems to have an autobiographical context. Can you relate some of the ups and downs that your chosen career has placed in front of you?
That song was written after I got speaking to a homeless guy in Nashville, he asked for a few cigarettes and we got talking and the tune grew from there. It’s a good question, but I’ve realised I don’t think in terms of ups and downs these days. I think that must come with age, or should do anyway. It’s all just a journey and if you’re doing it for the right reasons then everything should be considered an up. When you’re starting out you’re made to think if you get THAT slot, or get a song played on THAT show then its going to make everything fall into place, and it doesn’t. It’s nice when it happens but there’s always something else, always another THAT. It’s very easy to be consumed by what you don’t do/get in this business, so it’s important to remember why you started in the first place. Everyone’s journey is different, just try and enjoy yours.
What plans, if you have been able to make any, have you made for the future?
Well we’ve got the new album out this week which we’re really excited about letting folk hear, and I have another solo one ready for next summer, but that’s really as far as I can get at the moment. When gigs return there’ll be plenty of that no doubt, but until then I’m learning how to tune pianos as a sideline which is great fun. It’s always been an ambition I never had the time to do anything about, so I’m pleased to finally get started.
In that light where would you like to be in the next 10 years?
I’d like to be happy, healthy and living in an Independent Scotland.
As a songwriter what is your normal way of working and as a lot of your songs are relationship based is that a key source?
Writing songs has been, for the most part, therapy for me. I stopped drinking 9 years ago and writing turned out to be the main focus of my recovery. I drank too much for a long time and it was only going to end one way so it had to go. I replaced it with music. Writing allows me to evaluate and express everything I’m feeling, struggling with, worried/happy about etc. and helps me get my head in order. It keeps me busy and out of trouble most of the time. Having that to focus on has been a life saver over the years, a healthy distraction when the head inevitably goes down for whatever reason. Yes, a big part of it is helping me to interpret my relationships, but also all my roles in life and every other aspect of being a ‘normal’ functioning person. I don’t have a set way of writing, sometimes lyrics come first, sometimes the tune, just got to be ready to let it roll when it starts.
You have also played on other artist’s albums is that a thing you would like to continue and would you like to produce other artists?
Yeah, definitely to the playing on other people’s stuff, my only rule is I have to feel I can contribute something to it nobody else can, otherwise what’s the point?! Producing other artists isn’t something I aspire to, maybe I’m not confident enough in the studio but the thought of it doesn’t appeal to me in the slightest, not yet anyway. I’d like to write for other people again at some point, I’ve done a little bit of that in the past and that was pretty fun, so anyone wanting a song? Hit me up!
Looking back over your released albums do you have any particular favourites?
God, there’s too many to choose from, all personal favourites for different reasons, though I’ve not listened to any since I put them out so fuck knows what I’d make of them now! Each one takes me to a different point in my life, it’s like keeping old diaries in that sense. And then there’s usually the 3 or 4 standout songs from each release that have a little extra meaning, so it’s impossible to put any album ahead of another. I’ve been toying with the thought of putting those particular songs on a single collection at some point, keep them altogether. So that will be my favourite if/when it happens, ‘The 2011-2020 Danthology Triple Vinyl’!
Finally, you recently became a father. How do you think that has affected you on different levels?
It has affected me deeply on every level, it’s hard to put something down on paper that’s close. I realised what it’s all about when I held Otis for the first time, what’s really important, and it’s not what I thought it was all those years. Things I used to constantly worry about don’t cross my mind now, things I thought I wanted or needed don’t matter anymore, I can’t even remember what they were. The only way I can describe it is some ancient form of psychedelia, it blows your mind every hour of every day!
Interview by Stephen Rapid